Textiles Asia JOURNAL —SSSSSSSS SS September 2011, Volume 3, Issue 2Shwe Chi Doe: A Recent Acquisition of the Tilleke & Gibbins Textile Collection Dr. Linda McIntosh The Tilleke & Gibbins Textle Collection oned 2 large shwe chi doe hanging (h 1.6 m x w 4.7 m) in 2010, Pre-World War Il examples are rarely found in the market; thus, the purchase was a rere opportunity to 3c: quite 3 type of t ing examol collect Australian National Gallery, the Asian Art Museum of San Francisco and the Denison University of Ohio, Little ile absent from the collection. Exist are housed in private and major museum ncluding the Victoria & Albert Museum, the is known about the history af the shwe chi doe. How: ever, a Canadian collector purchased the textile from 2 dealer in Hong Kong ove auctioned it in 2010. The theme of the overall design is vears ago, and then ha scene of Burmese royalty on the composition’ left side, On the right hand side, the ruler and judge of the Underworld, Yama, ‘And, names of the various realms ‘of Buddhist heavens are found in the top section, The extile's couched inscription in Burmese lists the names of the family whe commissioned the piece, delivers sentence [This isthe] good work of U Bo, Daw Hran, ‘Maung San Hla (son, M ‘Maung San Paing (soi ing un Khaing Textiles Asia SEPTEMBER 201 ME ISSUE? 3nately decorated with metalic yarns, sequins, cabochons and various types of fabrics, shwe to be produced in Burma and Thailand. Some authors state that this deco- ative work has existed for over a thousand years with idence from eatly kingdoms, such as the Pyu. Shwe doe, oF gold thvead embroidery in Burmese, flour 3 during the Konoaung Dynasty (1752-1885 CE} ast Burmese dynasty before British annexation of tt kingdom in 1885-6, Produc Burmese patronage althoug! the fecined atter losing royal some Shan courts and Society, local and English, com doe. After World W tion in Thailand and Burma revived this art isumer base expanding to tourists, Efforts, including thi 36¢ of Jim Thompson, assi of this art form. Its now made in varying levels of qual ty to meet the market demand. As with all other styles come in and out of popularity, leading to change As a royal art, shwe chi doe was classified under pan tein, the art of making items in gold and siver (ed textiles under court patronage were composed of precious metals, stones, sik, cotto and imported ods. Imported raw materials, including velvet and wool, were an indication of status as sumpt 4 SEPTEMBER 2011, VOLUMES, SSUE2 ary laws limited access to them. The Burmese royalty ‘and Buddhist temples had the exclusive privilege to u: these valuable textiles (the latter received the textile ngs, usually far et emonial purpos ‘embers of the royal family gave permission to other uch as officials and members of court, to w ing decorated wi ve chi doe. D may have been adorned with artistry, but the materials were likely placed with less valuable goods. Glass replaced ne Burm sms, for xa 15@ monarchy in 1886, sumptuary laws were struck down, and citizens with the means could abolition of jonate the textiles to the Buddhist institutions and for their own p Un royal patron ‘applied to nine t We chi doe technique was pes of objects: royal regalia, such as ‘and headdressas; emellishments for proc sions, such as saddles; decorations on pillows and table covers; clothing for non-royalty; coffir theatrical costumes; clothing for puppets; and interior Shwe n items, such as wall hangings a partiti mbroidery with gold gold and silver wrapped yarns are Textiles Asiaplaced on a fa rie's surface to form a pattem and are se- cured with stitches; and this technique is called couch- ing. This technique is similar to techniques used in other cultures, such as zardosi work of Incia. The Burmese style of adornment also includes the appliqué of cloth, sequins, gemstones, or glass. Production of the raw materials and of the actual textile was and continues to be specialized. After the court was moved to Mandelay in 1857, artisans were housed outside the palzoe in special quarters or organ: ized in villages depending on specialization. Far exam- ple, one village produced sequins. Workshops or studios received commissions to create a shwe chi doe accord- ing to particular specifications, master artist designed the shie chi doe, and his assistants supervised the Teniles Asia ‘numerous stagas of production carried out by workers. large hanging was made of smaller units joined together. First, using chalk, the artist draws tho design outline on @ cloth stretched onto a frame, (sometimes, paper stencils replace the drawings). There were numer ‘ous small stretchers of cloth with an outline of one sac- tion of the overall design. On the small stretchers, each decorative element is completed, such as the couching Of gold wrapped yarns, the attachment of sequins and ‘lass, and the applique of different types of fabric. It be- ‘came popular to stuff some of the designs, trapunto, to ‘add dimension (this was not popular in hengings made ‘or the royalty or during the 19th century), Coated with rice paste on the reverse, finished designs were cut out and then stitched onto the large background fabric SEPTEMBER 2011, VOLUME3,ISSUE2 5The designs could be narrative. The subject matter hangings were dec scapes, and festivals, The themes ad a religious theme. Vari village life, ‘doe, cloth paintings and mural pa for the designs oft ous jsiaka tales, especially the last ten, were popular hartha Buddha similer. Sometin we chi doe are det choices, Episodes from the life of Si chi doe. Traditional beliefs diferent types of flora and fauna. Symbols of are also illustrated in shv such as are popular as well and literature, including local sources of inspiration. Some 6 SEPTEMBER 2011, VOLUME’, ISSUE 2 Textiles AsiaPhotographs courtesy of the illeke & Gibbins Txtilo. Cotfecton Feferences ond Further Reading: Teatiles Asia ER 2011, VOLUMES. ISSUE 7.ile Textiles Asia Hong Kong $100 Japan ¥1000 PO. Box 423, General Post Office, Hong Kong